Mista Mista, sometimes I think we're watching completely different movies. I can't fathom how anyone could hate Eyes Wide Shut as much as you do, and find the ending of A Short Film About Killing anti-climactic. There's just no possible way. I...I just don't understand you.

Get over it. How you think I manage with Irishman around this thread? :p

Sometimes, you have to let it slide. Other times, you fight the good fight if its something that incredibly shocks your senses.

Hey man, our opinions just differ. I can't fathom why you consider Dead Man to be a 5 Star Film.

Po-tay-to Po-tah-to I guess.

That's why discussion between film buffs is so interesting, and I love it. Always in quest for self-truth; I must get to the bottom of my own tastes as well as others'.

DVC, "There's just no possible way" may well be a phrase applicable to your summation of Boogie Nights, no?

Oh yeah, I nearly forgot we had an Anderson-Basher in our midst. Now we've really got something to disagree on.

Yeah, I guess...it's just weird that me and Mista are on completely opposite ends of the spectrum.

Wow...someone has a different opinion about films than you do!? That is simply outrageous.

Diffrent strokes for different folks, even as awkward as the individual strokes may be.

Awkward strokes

Sounds like something your mom might accidentally catch you doing.

Yeah, I guess...it's just weird that me and Mista are on completely opposite ends of the spectrum. [/b][/quote]AGAIN, now you know how I feel. I am deeply enthralled by burnt out porn stars and their thirteen inch phallaces.

Thelma & Louise
1991/Scott

Enjoyable film, my 4th Ridley Scott. His direction style, while not neccesarily unique in any way, just seems incredibly solid. Watching one of his films you really just get the feeling you're in good hands and he knows what he's doing. I never find myself wishing he'd shot something a different way.

The story itself, while entertaining, wasn't exactly deep thought matter for me, but I realized watching this that I'd do anything to be able to make a film that just looks like this one does. There's something extraordinarily beautiful about late 80's/early 90's film stock, or maybe it was lighting techniques, I don't know, but films like this, and Goodfellas, and Born on the Fourth of July, and several others I can't recall at the moment made in the 87-93 range, just have that certain feel and look to them that I've come to love.

Geena Davis and Susan Sarandon worked well together here, each adapting to their country accents adequately. One notable aspect of the film was the fact that even though the central theme was female empowerment, and our two main characters were females, I was glad Ridley Scott took the time to make sure he got strong actors for each of his supporting male roles. Rounding out the cast with Harvey Keitel, Michael Madsen, Christopher McDonald, and a young Brad Pitt just really made it that much better.

Overall, this was a good film. It was kind of ruined for me last spring break when I went to the Grand Canyon and read about how the ending of this movie caused a number of copycat Grand Canyon suicides, so I already knew the finale. And the one thing I really didn't like was some of Scott's music choices, but hey, I guess that's 1991 for you.

4/5 Stars

EDIT: Interesting side note, after consulting my many movie lists, I realized that according to theyshootpictures.com's top 1000 movies list, I've now seen 17 of the top 20 films released in US in 90's. All I've got left is Schindler's List, The Silence of the Lambs, and To Sleep With Anger. Pretty much gives you a complete picture of what the film scene of the decade was like.

Boo! Get off the stage.

It's very much debatable whether it's based on a true story or not but that adds mystique to the film. Glad you enjoyed it because I did too. Personally I think Chuck Barris is crackers.

CONFESSIONS is about as factual as STAR WARS. If anything, I think the idea itself is like a joke on the typical biopic, since think about it: A serious auto-biography about a gameshow host/song producer who also moonlights as a CIA operative, which could work as good humor.

CONFESSIONS OF A DANGEROUS MIND I thought was actually an impressive directorial debut for Clooney, with Sam Rockwell given a chance finally to star as the leadman himself. Interestingly, Rockwell's rival that also screentested heavily for CONFESSIONS was...Ben Stiller. Of course, Stiller's name might or might not have given the movie more sold tickets, but Rockwell was the right choice in the end, that of a charming asshole.

Film Rating - ***1/2

I recall a big difference. I'll rewatch it within the next few days or tonight and get back to you on it.

As for why I consider it one of the ten best films ever, it's one of the most humane films ever with the greatest performance from an actress. It's an excellent depiction of a semi-dysfunctional family and how two opposite types of craziness can form a good family when together.

And by the way, even if a budget isn't piss-poor, does that make the way it's filmed badly? You make it sound like a con that can't be avoided. I find nothing wrong with the way it's filmed. You don't always need flashy directions to pacify you. The steadycam in Stranger Than Paradise for instance only creates a stronger focus on the characters. You even make it sound like they're smug assholes with the I don't need to edit type of sarcasm. What's wrong with defying conventions? What if a film is done completely in one cut?

Have you seen Russian Ark? They did that.

With that type of attitude, I guess I wasn't exactly referring to this type of movie. That criticism might better be applied to something like Broken Flowers, where it seems that Jim Jaramusch is an accomplished enough filmmaker that he would have enough money to make a more polished film. (Note: I liked Broken Flowers.)

But then you can chalk it up to artistic vision, rather than the snobishness that I implied. I don't know, I mean I didn't really go into all the minute considerations when making that statement, it just seemed as though the lack of editing was a purposeful rebellion of sorts against the conventional filmmaking process and I just felt that was an idiotic way to assert their independence.

I've seen plenty of independent, low-budget films that I felt came out better than A Woman Under the Influence. I don't know if you've ever seen Narc, directed by Joe Carnahan, but that was another film where the director had to constantly stop shooting to try to scrape together funds and was never even sure if he could pay his actors and such and yet he's still able to display some really great camerawork, some really intriguing editing, and overall still make a great film that doesn't in any way display his lack of money.

This is true, although I felt they might have been neccesary in this film. In my opinion, if you're going to have very basic and simplistic direction techniques, you have to make sure that the story you're telling and the events you're displaying on screen are interesting enough to keep your viewers interest, which as you know, I didn't feel this film had. I mean I don't have ADD or anything, but I just had trouble concentrating and remaining interested in this film the whole way through.

And overall, despite certain aspects of the film I disliked, in the end I still did enjoy it.

Thanks for your explanation.

Jim Jaramusch is an accomplished enough filmmaker that he would have enough money to make a more polished film.

The fade-to-blacks and lack of camera movement is his style. It's just what he likes. Narc was good, but not great to me. Hell, I don't have a problem with style. Michael Mann and Martin Scorsese have great visual styles, but some directors don't need to be lavish.

What exactly is this director's manual that Hagen seems to have in his hands?

Anwyay Hagen, you're on the right path mate, but don't ever think you know it all. I may act like an asshole (or maybe I am in nature!), but unless the foolish will ever think they "know" movies. Besides, many Italian, Korean, and German titles I've been meaning to get my ass behind and actually watch.

Ferris Bueller's Day Off
1986/Hughes

One of those guilty pleasure movies that upon further examination, reveals itself to actually be a well-made and respectable piece of cinema. Hughes displays great comic timing in his editing, going from scene to scene at the exact moment which produces the best comedic effect. It always bothered me that he didn't continue directing. This serves as a great portrait of 1980's suburbia as well, something Hughes really had a knack for. His high school films kind of define the decade for me. I'll have to suspend my heterosexual tendencies one of these days, sit down, and watch 16 Candles.

4/5 Stars

An Inconvenient Truth

Regardless of your political viewpoints, you need to see this film. It's not a pleasant subject, it's not something that is "fun" to see at the movies. But it is of utmost importance to the future of this planet.

I think the most startling point in this film was the deterioration of Greenland and the glaciers. If these collapse into the water, the effects will be devastating across the globe.

If you can't see this film just because Al Gore made it, I feel sorry for you. He has been an environmental advocate since the 1980s. If you hate the left so much that you won't see it, pretend it's Rush Limbaugh talking and listen to the message, not the messenger. It is that important.

Scientists support Gore\'s assertions

PULP FICTION (1994) - ***** - Masterpiece

First time I've sat down and actually watched it whole within one sitting in years, and despite dozens of people that, right and wrong, have attempted to make their own pop culture crime movies, Tarantino's triumphant 1994 picture still stands supreme.

Speaking of which, what happened to Samuel L. Jackson, the man that FICTION made us fucking bow down to his awesomeness? I know he's been stuck in generic Hollywood shit for years now, but I wish the man that layed vengeance upon thee himself would come back to the silver screen, instead of detective whatever, Officer fuckit, or military nobody.

I enjoyed Jackson in Jackie Brown.

I second that. The scene were Jackson and Beaumont are arguing about him getting in the trunk after Jackson ballied him out of jail is one of my all-time favorites. Both work so well off each other and are hilarious in that five minute scene together!

My favorite scene is the one where DeNiro has to tell Jackson he killed Melanie. They play well off each other.

Yeah that was good too.

-"Is she dead!?"
-"I think so.."

I also like the scene in the beginning where Samuel is showing Robert the video about guns and telling him how much he buys and resells them for (plus his interaction with Bridget Fonda). "Girl, don't make me put my foot in your a$$." CLASSIC Sam L!

Magnolia

This is a great film. Anderson creates an amazing character study of a multitude of characters, and manages to flawlessly develop and intertwine each's story. The music fits perfectly within the film, and gives it a more haunting feel. Overall, the best thing about this film is the performance of Tom Cruise. Not only do I believe this was Cruise's best performance, but one of the best performances I've ever seen, period.

Magnolia's one of my favorites.

Dekalog, szesc

This segment was alright. For some reason Kieslowski's camerawork felt extra-amateurish this time around, although it has been a while since I last watched a segment. I didn't feel as though either of the 2 central performances were very strong here, and the story seemed too simplistic to remain interesting. I did, however, like how Kieslowski was able to simultaneously present both facets of sexual frustration, showcasing both overabundance and denial. He also seemed to use music more here as well, which I enjoyed. Overall, average.

2.5/5 Stars

I've always thought it was one of his more complex films, in that it deals with voyeurism and camera-placement and subjective gaze and all that. Brilliant cinematic storytelling, with hardly a word spoken in the opening segment.

TOTAL RECALL (1990) - ***1/2

Ahhnuld beats up, maims, and kills baddies by the dozen in this enjoyable sci-fi/action picture from Paul Vernhoeven, the director who earlier scored a touchdown with ROBOCOP.

Interestingly, when Arnold is sedated at the Rekall business location, accept that for the rest of the film, that his character is dreaming, and then the ending, assume that either he woke up, or got lobotimized. A worthy aspect to consider with this film that makes it legit to at least watch once again.

Dead Man

Words will never be enough to describe this film. It moves like a dream, floating and spinning around you. Neil Young's electric score churns like a ghost train and pushes the film farther. There isn't one performance that is wrong, nor is there ever a false moment. From start to finish this film pulls you into its dream land, and carries you along on clouds until the finish. It's the unconscious trip of one man to death, slowly descending to another level, deeper into nature. Unbelievable. This may be the greatest film of all time.

The starting was a little boring, but towards the end it is just amazing, I didn't want the movie to end. I could watch the ending forever. The music was great and so was the cinematography.